Chromatic translations

The pictorial expression of Grazia Badari is the gestural and visual transcription of an infinite journey as a description of relations with places.

A place representative of the personal memory of his affective path that allows the artist to extrapolate situations and conditions of life that become the pictorial concept of his pictorial and sculptural production.

If we exclude the first artistic period, characterized by an accentuated chromatic representation, where people and everyday objects are displayed as snapshots to represent a society of appearance and not of essence, then painting evolves through an informal gesture that characterizes all of its path.

The primary colors, strongly lit, cancel the pictorial subject to give us a translation of a possible expressive language of abstraction.

After the academic experience, Grazia Badari begins her pictorial journey as an absolute and indispensable relationship with the context in which she lives.

His pictorial story is delicate, lyrical, poetic, which is the direct way to represent his surroundings.

In accessing his studio, located in a small village in the Mantuan countryside, adjacent to the floodplain area of ​​the river Po, in crossing those places so strongly characterized by silent metaphysical images both natural and artificial, there is an immediate "visual introduction" of his expressive language.

His pictorial works appear as chromatic backgrounds of a "geometric" rural territory that is described through the use of light overlaps of geometric parts that make the pictorial work as a silent lyric and poetic abstraction.

It is through the choice of color that Grazia Badari strengthens this concept of "minimal expression", almost reinforcing the presence of emptiness and suspended time.

An instinctive pictorial composition, but perfectly balanced, which makes his work easily recognizable and therefore specific to an exclusive identity.

Pictorial identity as an expression of the identity of the places that remain the sole reference, the iconic aspect of his language.

This concept is reinforced in the expressive theme of its last cycle that of "materials": sand, coal dust: materials that transform the work from surface to volume; light material extroflexions that are nothing but the mirror of its territory, of its environment.

Finally, his sculptural work translates through a cataloging of objects and people that make up his world and take on a visual role.

A. Gaudì reminds us that originality is a return to the origins and therefore we can define the expressive work of Grazia Badari as a fantastic "original" journey that has in its search for the "genius loci" its foundational and constitutive theme.

An art of belonging and not of extraneousness, of a contemporaneity which has in its principle the value of the forms of "collective memory" its being an original artist.

Sergio Zanichelli